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winged-self-indulgence · 2 years ago

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Why Do People Like Yanderes?

Hi everyone, my name is Diya, and this was going to be a YT video-essay-type-thing but I'm too poor to afford a mic and too busy with college to learn how to edit videos, so here's my vague exploration of the psychology behind why people like yanderes so much through the lens of my favourite Visual Novels.

TW for uh. yandere content. Mentions of sex, gore, and non-con, particularly in the last topic. This is more like the first draft of an academic paper so while it's not explicit, I do go into some detail.

Introduction

If you’re a fan of anime or visual novels, then you’re probably already aware of what a yandere is, or at the very least you’ve seen that one picture of Yuno Gasai. Still, for the sake of thoroughness, let’s take it from the tippy top. The term ‘yandere’ is a Japanese portmanteau of ‘yanderu’ – the progressive form of ‘yami’ – meaning ‘sick’, and ‘deredere’ which roughly translates to ‘loving’. Together, the word refers to someone who is – in short – extremely lovesick. Obsessive to the extreme, and with little morality to spare, the standard yandere is characterized by a dangerous fixation on a chosen target, often appearing shy and caring at first only to flip the script and become violently aggressive towards perceived threats (Kroon, 2010).

It should be noted that yanderes are not a strictly romantic or sexual trope. The Ancient Greeks classified at least six forms of love, from familial (storge) to guests (xenia). Modern psychologists may distinguish love as either Companionate or Passionate (Kim & Hatfield, 2004) or consisting of three dimensions of Intimacy, Passion, and Commitment (Sternberg & Sternberg, 2018). Realistically, possessiveness shows up in a variety of relationships. However, people are generally primed to view certain dynamics as inherently amorous. Societal norms tend to encourage the idea that romantic bonds ought to rank above all others, and therefore if Person A is bizarrely fixated on Person B, then clearly there must be an element of sexual interest involved regardless of the actual relationship between the individuals in question.

Regardless, yanderes remain quite popular in fiction. Many dismiss it as a fetish, which it can be, but that isn’t the case for everyone. While there is nothing wrong with indulging in kinky fiction, not all of us get horny at the thought of being chained up in someone’s basement, no matter how hot our captor may be. So why is it so pervasive? Why is this trope so appealing that most writers cannot help but include at least a single line of dialogue implying that – if circumstances had been ever so slightly different – my wholesome shoujo romcom might have turned into a psychological horror?

Hybristophilia

‘Hybristophilia’, also known as Bonnie and Clyde Syndrome after the titular criminal couple, is a word is derived from the Greek word ‘hybridzein’ meaning ‘to commit an outrage against someone’ and ‘philo’ which means ‘a strong preference for’. Sexologist John Money reportedly defined it as a paraphilia in which an individual is sexually aroused by a partner who has a predatory history of hurting other people (Money, 1986, as cited in Matuszak, 2017). In his book, Serial Killer Groupies, true crime and crime fiction author RJ Parker distinguished two forms of hybristophilia: passive and aggressive. The former is when an individual contacts a criminal with the intention of striking up a relationship with them, allowing themselves to be seduced and manipulated but having no interest in committing a crime themselves. The latter are far more dangerous, as the individual not only derives sexual pleasure from their partner’s atrocities but are active participants in carrying out or covering up the crime. To quote Griffiths (2013, as cited in Pettigrew, 2019):

“[They] help out their lovers with their criminal agenda by luring victims, hiding bodies, covering crimes, or even committing crimes. They are attracted to their lovers because of their violent actions and want to receive love yet are unable to understand that their lovers are psychopaths who are manipulating them.”

In some ways, hybristophilia is the nearest thing we have to a realistic understanding of why people love yanderes. I mean, much of the fantasy surrounding such characters and their media tend to be filled with posts begging to be spat on or calling the rightfully terrified main character ungrateful for being a teeny bit upset about finding surveillance cameras in their ceiling. However, enjoying fictitious immoral activity does not predict real perpetration, so what does? There exists little consensus amongst psychologists as to what sparks this particular predilection, and that was strange to me. You would think there would be more studies into this topic, in spite of or perhaps because of its controversial nature. Heck, that one dude wouldn’t shut up about white women’s obsession with Bundy and Dahmer, and I assumed he had gotten that information from somewhere, but it turns out that was just him using modifiers to justify sexism.

However, I believe that we can hedge a few guesses, and over the course of my research, I’ve organized the main rationalizations under four umbrellas which I will explore through the lens of my favourite yandere-themed Visual Novels. Please keep in mind that most of these games are rated as mature due to sexual scenes and/or gore. Additionally, in the spirit of transparency, this ramble will be focused exclusively on male or masculine yanderes. So, without further ado:

Call Me Bob the Builder Because I Can Fix Them

If you’re familiar with DC Comic’s Batman, or just happen to have attended any costume event held over the span of the last 20+ years, you may be familiar with the character of Dr. Harleen Quinzel, better known as Harley Quinn. Initially created as the Joker’s one-off sidekick in Batman The Animated Series, she was so well-received by audiences that she became a recurring character in the cartoon and was eventually given a proper origin story in the form of a one-shot titled Mad Love.

Harley’s origin story has seen some alterations over the past decades, but the core aspects remain largely untouched. In the beginning, Harleen Quinzel was a promising young woman who wanted was a degree from the university’s prestigious psychology department, which she gained through…less than scrupulous means.

(Listen, I’m not sure if the authors were leaning on the Dumb Blonde stereotype, or if they simply thought that casting her as a genuinely bad student would make her later actions more believable. Either way, the idea of Harley as someone with a legitimate PhD came later)

After landing an internship at Arkham Asylum – a half-hospital and half-prison straight out of the 1870s that might as well be built out of one-ply tissue-paper soaked with gasoline and left next to a crate of fireworks – Harleen set her sights on the then incarcerated Joker. At the start, her fixation on the criminal wasn’t remotely sympathetic. She didn’t want to help him, she wanted to use him. Harleen Quinzel wanted piggyback off his infamy and write a tell-all tale detailing what sort of messed up childhood resulted in Gotham’s Clown Prince of Crime. Yet the more she interacted with him, the more the Joker took advantage of her empathy. By the end of their sessions, Harley no longer saw him as a violent serial killer with a clown schtick, but as a “lost, injured child looking to make the world laugh at his antics.”

But Diya, you may be asking, what does this have to do with the video? The Joker never loved Harley, and it could even be argued – as Shehadeh did in a 2017 essay – that her obsession with the pasty-faced clown is more akin to Histrionic Personality Disorder. While that may be the case, I believe that Harley’s story provides one of the reasons yanderes are so popular: their backstory.

Whether they were abandoned by their family, bullied by their peers, experimented on by evil scientists, starved on the streets, died under mysterious circumstances and then trapped in a haunted VCR tape for decades, or are simply so impossibly inhuman that they frankly do not understand why it isn��t socially acceptable to imprison their crush in a pocket dimension made of meat and non-Euclidean geometry, yanderes often have fairly sympathetic or at least understandable explanations for why they are Like That. Your mileage may vary significantly depending on how much you sympathize with these motives, but the point is that yanderes always make sense to some degree. Their morality and priorities may be twisted or even completely incomprehensible, but the audience almost always knows the reason, and that can be comforting. In the real world, other people aren’t always straightforward, and we never really know what they’re thinking, but narrative coherence demands a semblance of internal consistency lest the audience end up frustrated and confused. So yanderes are not only easy to sympathize with, but also fairly predictable. In-universe they may be unhinged freaks with a blood fetish, but to you watching from behind the safety of the screen they’re just acting out the script written for them based on a prototype. And if you understand the why behind their loose gears, then you might just be able to put them back together again.

The concept of rescue romances or “I Can Fix Them” has been around in our stories for thousands of years. The Epic of Gilgamesh detailed how Shamhat essentially ‘civilized’ wild man Enkidu through ritual lovemaking, and a concerning number of religions push the idea that women are dutybound to save men from the follies of sin. Yet men are not exempt either, with one notable example being the German fairytale, King Thrushbeard. Call it what you will regardless: Knights in Shining Armour, the Florence Nightingale Effect, or a plain old case of Because You Were Nice to Me, studies have shown that human beings generally like helping [DA2] others, even when the reason doesn’t necessarily stem from pure altruism. I will delve deeper into this later, but care and compassion are deeply ingrained in human nature, and arising from those roots is the appeal of this mentality: You can save them. You can change them. You can make them better. You are special, and the way you treat this person carries a weight that has not and will never be matched by anyone else for the rest of their mortal or immortal existence.

The illusion is a delicious one, especially if the person you’ve helped turns out to be a billionaire CEO with cash to burn, a super powerful ghost king willing to raze continents to dust for you, a demon having fun on a Friday night, or just your average hot creep with a knife. Moreover, different people have different ideas of what ‘fixing’ even means. Maybe you want to single-handedly rehabilitate your yandere into a functional member of society. Maybe you’re cool with the incessant stalking but would like them to stop slaughtering your friends, family, and local service workers. Maybe you want to make them much, much worse.

Not only do yanderes provide immediate proof that your actions have a tangible impact on the lives of others, but the fantasy also includes the desire of being seen as special. Of being admired and adored by someone whose life you inexplicably made better by virtue of simply being yourself, or an idealized version of yourself. In this fictional world, in this imaginary setting, the person you are is so uniquely, impossibly irreplaceable to someone. And if that’s the case then they can’t risk losing you, can they?

The Allure of Obsession, or ‘Til Death Do Us Part (Literally)

It shouldn’t be necessary, but here is my obligatory disclaimer anyway. Ahem: obsession is not a good thing in real life. Fixating on another human to the detriment of your own wellbeing and that of those around you is dangerous, as is encouraging someone else to obsess over you. You might think you are being worshiped, but real life is not a visual novel. The outside world doesn’t come with an age rating, the author’s guiding pen, and a convenient fade to credits sequence once you’ve reached an ending. The consequences will still be there in the morning, so don’t do it. Just don’t.

PSA out of the way, it’s natural to want to be wanted. Maslow’s Hierarchy places it just above physical safety, but I’d argue that it could easily be compared to baser drives. According to many psychological and anthropological studies, much of humanity’s continued survival and environmental dominance is largely attributed to our ability to form groups, cooperate with one another, and maintain complex interpersonal networks. Social support, intimacy, and a sense of belonging are linked to emotional and physical benefits, such as more optimistic health perceptions, higher subjective well-being, increased creativity and innovation, and greater self-efficacy (DeWall & Bushman, 2011; Harandi et al., 2017; Wang & Sha, 2018). Therefore, it’s perfectly understandable that rejection of any sort would be construed as a threat.

But if someone is obsessed with you, then you have no reason to worry about that, right? No more nights spent agonizing over how they feel about you, asking yourself whether your last text made you sound too desperate, or if you’re boring them because you spent the past hour info-dumping about Stardew Valley farm layouts. With a yandere, there will never be any doubt that they care about you. Sure, they might go about it in weird, manipulative, and insidious ways that violate your physical and mental autonomy, but you can’t deny their loyalty. They do love you in their own bizarre way. You are the sun around which they orbit. When you’re in the room, no one else exists. Every single messy flaw is just another bullet point on the mile-long list of why they adore you.

In essence, yanderes are not only attentive, but their love can be virtually unconditional. A yandere might know everything about you, and still revere you. It’s unhealthy as hell and you might genuinely question their taste, but it can be tempting to pretend that all of you, right down to the ugliest parts of yourself – the traits and choices that you would never share with another living soul even at gunpoint – are worthy of understanding, if not open praise and affection.

Attractiveness, or Okay but Have You Considered That They’re Hot Though?

I mean what am I supposed to say here? They’re hot, what do you want from me?

No, but in all seriousness, fictional media paints an idealized version of the world, and most yanderes are hot because they have the freedom of existing purely behind that screen; artfully arranged and edited to forever appear compelling to anyone who happens to enjoy their particular style. And there are a lot of styles to choose from. Whether you want them pretty faced and disarmingly cute, or scarred up and big enough to pin you like a butterfly, yanderes come in a wide variety of shapes and sizes that are meant to pique your interest and draw you in like a naïve little fish being lured towards the mouth of an angler fish, unwilling to believe that anything bad might happen to us when the bait is this pretty.

This is often referred to as the Halo Effect, a form of cognitive bias referring to the tendency for people to assume that a single obvious positive trait must be associated with other positive traits. The go-to characteristic is typically physical attractiveness, but a nice voice, good humour, and cooking skills are also factors which serve to influence our perceptions.

So, conventional physical attractiveness is one thing, but that’s only skin deep. What about beyond that? After all, the yandere still has to talk to you before they enact their master plan of tying you up in their basement until Stockholm Syndrome kicks in.

When I showed my friend a picture of John Doe from the game John Doe, she told me that he looked like a creepy slob, and she’s far from the only person who’s ever thought so. Look at them. I feel like if I tried to comb that hair it would simply eat me, and some of the CGs really put the scopophobia in Scopophobia Studios. I love Doe, but he is not hot, and he doesn’t behave in a normally appealing way either. If the player chooses not to take a bath, Doe will immediately comment that you “smell good” before following you home, breaking into your house, and leaving a bloody organ on the floor for the player to trip over. Many yanderes can at least fake a veneer of normalcy, but from the get-go Doe doesn’t even bother to pretend he’s anything less than an otherworldly creature stuffed into a vaguely person-shaped meatsuit. In an effort to find out why so many people had latched on to Doe – including me – I shopped around social media and YouTube for answers, and what I found was a widely unanimous sentiment.

While some were drawn to his fun design and goofy personality, most simply thought that he wasn’t inherently malevolent, just very confused. In addition to being a supernatural being with a completely alien axis of morality, Doe’s meta-awareness and unbridled attempts at winning the player’s affection lends him quite a bit of support from the audience, especially if you yourself also happen to struggle with social cues and relate to his pure earnestness. In Ending 7 of the extended version, the player character has the option to tell Doe – who has altered himself to pass as more ‘normal’ – that they prefer who he truly is, at which point he grows visibly flustered and sports an adorable pair of literal heart-shaped pupils.

Whether they’re charismatic, seductive, cute, sweet, funny, nurturing, or generous, the best yanderes have engaging personalities. Even while they’re committing truly heinous crimes against God, man, and your guts, you still kinda want to hang out with them, and you want them to acknowledge you as being just as interesting. And this is all fine in fiction because you’re the one in charge, and if you ever get bored or uncomfortable or busy with something else, then you can simply close the tab or window with zero consequences, which brings us to the final and most important reason.

Power Dynamics and Consent in Fantasy (I Couldn’t Think of a Joke Here Guys, This Is Kinda Serious)

Once again, I feel that I must preface this section just for the sake of my own peace of mind: sexual coercion and assault are vile and disgusting crimes that should never be emulated or tolerated in the real world. We are speaking purely of fictional media, specifically adult-oriented media in this case, so please be mindful.

In 2009, Bivoni and Critelli conducted a study on 355 undergraduate women with the goal of assessing the reasons behind fantasies of non-consent. At the time, there were two leading explanations of this phenomenon. One stated that women with high libidos but repressed views of sex used these imaginary scenarios to alleviate the guilt they had grown to associate with sex. Because the simulation was a purely mental exercise and they themselves were cast as helpless victims in the scenario, they were able to remain blameless while still finding sexual gratification. The second stated that these fantasies were an expression of liberation by women who were adventurous and comfortable enough with their own sexuality to engage with taboo ideas that they weren’t at all interested in performing in real life. Which do you think was more common?

If you guessed the second option, you’d be right. The study found that of the 220 women who had experienced such fantasies, 45% found theirs erotic, 46% were mixed, and only 9% reported pure aversion. One justification for this outcome relies on psycho-biological theories, for example masochistic preferences or the unintended activation of the sympathetic nervous system and subsequent mis-attribution of arousal. Other reasons have to do with higher order thinking and are tied to the power dynamics within such fantasies. On the surface is the appeal of being so desirable to someone that they simply cannot control themselves, but then there is a deeper impulse, which the researchers referred to as Adversary Transformation. To quote the article: “[fantasies] involve a struggle between an assailant and a potential victim in which it is relevant to consider who is the winner and who is the loser. At one level, it is a struggle over sex, but the woman's non-consent may be feigned or token. At another level, the woman may be seeking a victory that is not about whether sex occurs, but about what happens emotionally between the protagonists.”

Basically, the imaginary perpetrator may have ‘won’, but the self-character need not have ‘lost’.

Media provides an extra layer to the illusion, one that you as the viewer have absolute control over. If you are choosing to engage with a piece of media that explicitly labels itself as including R18+ yandere content, then you clearly have some expectations, and that background awareness goes a long way in reducing long-term discomfort and allowing audiences to make informed decisions. If you don’t like the plot, you can simply turn it off it with the click of a button, and when the screen goes dark it’s not like the yandere is going to punish you for saying no. Strade isn’t going to break into your house with a drill, there are no homicidal clown ghosts hiding in your TV, and no suspicious pink-haired hackers watching your webcam. They aren’t real, and the consequences aren’t real either. You have all the power here.

Conclusion

In summary, Yanderes are appealing for a variety of reasons. Whether you want to save them, think they’re attractive, wish to indulge in a dream of being utterly coveted, or simply enjoy a bit of spice in your me-time, it’s obvious why the trope has persisted for so long and will likely continue to do so. If you enjoy yanderes but are worried that having a taste for the less wholesome side of things might imply something about who you are as a person, don’t be. The notion that fantasies and media preferences directly reflect subconscious desires is not only painfully out of date debunked nonsense but also indicative of restrictive ideologies wherein bad thoughts = sin. This isn’t 1984. You haven’t committed a thought-crime by having a weird kink. You aren't going to superhell for fantasizing. The human mind is hardly ever so mathematically rational, and the point of fiction is to allow us to safely engage with and explore various ideas, provided the everyone involved is mentally, chronologically, and emotionally mature enough to do so.

Thank you all for listening to me. If you learned something or were just a little bit entertained. If you're curious about knowing more, I've listed my sources below

REFERENCES

Bivona, J. M., & Critelli, J. W. (2009). The Nature of Women’s Rape Fantasies: An analysis of prevalence, frequency, and contents. Journal of Sex Research, 46(1), 33–45. https://doi.org/10.1080/00224490802624406

Critelli, J. W., & Bivona, J. M. (2008). Women’s Erotic Rape Fantasies: An Evaluation of Theory and research. Journal of Sex Research, 45(1), 57–70. https://doi.org/10.1080/00224490701808191

DeWall, C. N., & Bushman, B. J. (2011). Social acceptance and rejection. Current Directions in Psychological Science, 20(4), 256–260. https://doi.org/10.1177/0963721411417545

Flynn, F. J., Reagans, R., Amanatullah, E. T., & Ames, D. R. (2006). Helping one’s way to the top: Self-monitors achieve status by helping others and knowing who helps whom. Journal of Personality and Social Psychology, 91(6), 1123–1137. https://doi.org/10.1037/0022-3514.91.6.1123

Harandi, T. F., Taghinasab, M. M., & Nayeri, T. D. (2017). The correlation of social support with mental health: A meta-analysis. Electronic Physician, 9(9), 5212–5222. https://doi.org/10.19082/5212

Hazen, H. (1983). Endless rapture: rape, romance, and the female imagination. https://openlibrary.org/books/OL3161300M/Endless_rapture

Kroon, R. W. (2010). A/V A to z: An Encyclopedic Dictionary of Media, Entertainment and Other Audiovisual Terms. McFarland.

Matuszak, M. (2017). Hybristophilia White Paper. https://static1.squarespace.com/static/55dfd21ee4b0718764fb34cc/t/5cb7cabee5e5f00ab13be58b/1555548863275/Hybristophilia+White+Paper.pdf

Oarga, C., Stavrova, O., & Fetchenhauer, D. (2015). When and why is helping others good for well-being? The role of belief in reciprocity and conformity to society’s expectations. European Journal of Social Psychology, 45(2), 242–254. https://doi.org/10.1002/ejsp.2092

Parker, R. (2014). Serial killer groupies. RJ PARKER PUBLISHING, INC.

Wang, T., & Sha, H. (2018). The influence of social rejection on cognitive control. Psychology, 09(7), 1707–1719. https://doi.org/10.4236/psych.2018.97101

#reference list is completed!#yandere #sunny day jack #my dear hatchet man #mdhm #stnaf #ddlc #john doe #boyfriend to death #tpof #degrees of lewdity #your boyfriend #14dwy #br<3ken colors #camp willowpeak #br0ken colors #obey me #binary star hero #favor vn

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windblumewishes · 3 months ago

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FIRST LOOK AT THE TWISTED WONDERLAND ANIME!

Watch here on Disney+ JP’s YouTube Channel

Enma Yuuken will be voiced by Azakami Youhei, some may recognize him as Rinne Amagi from Ensemble Stars!! Music.

The main cast in TWST will also reprise their respective roles and the only new addition will be Azakami Youhei as Yuuken.

PLEASE NOTE:

Twisted Wonderland is NOT an Otome Game nor will it be an Otome Anime.

Rhythm Game + Attractive Male Characters does NOT equal Otome.

Rhythm Game where the player, you, get transported to a new world outside the realm of your own does NOT equal Otome.

Otome, by definition means the following:

“Otome” refers to a genre of video games, primarily visual novels and adventure games, marketed towards women, where the female protagonist can develop romantic relationships with male characters

Please note that this game does NOT have any romantic content for the player to the character and vise versa. There is no romance, there may be subtle romance add-ins but it is not labeled as a romance game.

For example: Childe in Genshin Impact has lines with the traveler hinting that he may have a thing for the traveler but it is not outright confirmed nor is it a route we can go to. This making Genshin Impact NOT an Otome game.

In 2025 people should have the common sense to research what this concept is let alone play the game and experience it themselves. Fans should not have to keep repeating themselves over the spread of misinformation that has erupted since the release of this game and the announcement of this anime.

Newcomers to this fandom, please be aware that this game is ongoing, this game released in 2020 and is still going strong. I would also like to encourage you to play the game or at least watch translations (I personally would recommend Otome Ayui on YouTube). Many things for TWST like certain livestreams are region locked only for Japan. To watch ABEMA you need a VPN to connect to Japan and watch.

Storyline/Timeline

The show is already cleared for three seasons, each season will follow the game’s storyline/timeline.

Here’s what we have:

Prologue/Book 1: Heartslabyul

Book 2: Savanaclaw

Book 3: Octavinelle

If we continue this timeline we will likely see the rest in order of:

Book 4: Scarabia

Book 5: Pomefiore

Book 6: Ignihyde

Book 7: Diasomnia

Note: It is unclear at this time as to whether or not the events will receive an anime adaptation. Do NOT go and spread misinformation about the events having an anime episode until it is DIRECTLY confirmed by Disney+ or Aniplex.

For further information regarding Twisted Wonderland or the Twisted Wonderland Anime please see Twitter (X) for more. Specifically follow Disney+ JP and US as well as Twisted Wonderland’s two accounts for Global and JP.

My Discord Server

Please consider following my other blogs @twisted-wishing-well and @heart-aid-cafeteria for character interaction posts for their respective fandoms.

If you enjoyed this post and would like to support me, please see my KoFi!

- Windblume

#windblume rambles #twisted wonderland #twst #twst spoilers #twst jp spoilers #twst anime #twisted wonderland jp #twisted wonderland anime #anime news #heartslabyul #riddle rosehearts #cater diamond #trey clover #deuce spade #ace trappola #enma yuuken #grim twst #dire crowley

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thirstkanaphan · 3 months ago

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Casting Ateez in a BL (revised and expanded)

Purely self-indulgent and a way for me to draw from my stores of BL knowledge (see my tags) and procrastinate on my actual work

Hongjoong

Hongjoong doesn't quite fit standard BL male lead visuals, yet he has shown himself to be intense, jealous, and possessive with atiny (and certain other members), which makes him a good fit for a cult fave Taiwanese BL. I would cast him in a Lin Pei Yu drama as a lead who secretly and furiously pines over his love interest for years, leading to an explosive moment of passionate intimacy, only to then ghost the love of his life for five years in order to prove himself worthy.

We Best Love 1 & 2 (Taiwan 2021)

Seonghwa

With Seonghwa's ability to draw from the emotional spectrum in his art (sadness, longing, grief, anger) and his unconventional yet staggering good looks, he would be a great fit for a Korean BL directed by my queen Hwang Da Seul. A show about the cost of aiming for perfection in a society that values beauty above all else. Seonghwa would definitely try for a more authentic depiction of queerness in a BL and would not be afraid of playing a messy character yearning for love.

Bleuming (Korea 2023)

Mingi

Given Mingi's penchant for pushing boundaries and zagging where others would zig, I see him fitting in with his new friend Up Poompat in a high-budget Thai BL adapted from a Chinese web novel. A show filled with questionable/downright problematic tropes and an incomprehensible plot, yet with great ratings due to its flashy visual style and high heat. Yes, I think Mingi would have a field day and charm the pants off everyone on the set.

My Stand-In (Thailand, 2024)

Yunho

Realistically, Yunho has the best chance of being cast in a Korean bromance drama like The Devil Judge or Beyond Evil, playing an honor-bound yet impressionable rookie who comes under the thrall of a mysterious and dangerous older mentor. However, we are casting him for BL and I think he would be perfectly suited for a Japanese BL filled with comfortable and nostalgic vignettes of everyday life and extended scenes of one character cooking for the other. His handsome, boy-next-door good looks would make him the ideal romantic lead who quietly devotes himself to his childhood friend-turned-roommate.

Living With Him (Japan, 2024)

Wooyoung

Has there ever been someone more suited to a pulpy Thai BL? I mean this as a compliment, of course. Yes, these shows have a reputation for being little more than sexy melodramas with poor production values, but I see the vision. Wooyoung's magnetism, swagger, and confidence would land him a show produced by Be On Cloud with great cinematography and a high-concept story held together by tape and glue. That wouldn't matter, because Wooyoung would get every advertiser of ice tea and printer ink to fund the show.

KinnPorsche (Thailand, 2022)

San

Yes, I know San was actually used as a visual reference for a character on KinnPorsche, but he would be playing it safe as a nice, strong, romantic lead in a New Siwaj-directed Thai BL. Physically, he embodies all the attributes of a seme, defined as the active pursuer in the narrative. He is the soft dom of our dreams, and would gently yet persistently woo our skittish ML while dealing with the emotional fallout of an intergenerational trauma that threatens his happily-ever-after.

P'DEEEAAAAAN!!!

Until We Meet Again (Thailand, 2019)

Yeosang*

Yeosang is tough to cast, because we know he sees himself as a doberman while the world insists he's a maltese. Unfortunately, his angelic good looks and soft-spoken demeanor would make him catnip for a Koran BL casting director looking for the ideal uke (the passive resistor in the narrative). He would play a sweet-natured yet timed character with a tragic backstory desperate to be loved by the touch-too-possessive ML who has known him since childhood. The show would be inexpensive yet tastefully staged, with a soft and dreamy style. The chemistry would be awkward and unconvincing, but the visuals would do most of the heavy lifting. His co-star would dine out on fan-meetings for the next 2-3 years.

Cherry Blossoms After Winter (Korea, 2022) starring Ok Jin Uk, from the trot idol group SUPERFIVE

*Thanks to an excellent suggestion by @byemambo, I am also casting Yeosang in A Man Who Defies the World of BL, using their explanation:

Mob is easily one of my favorite BL characters because I rewatch A Man Who Defies the World of BL religiously. I know we tend to see Yeosang as this ethereal beauty or someone who defies the odds of reality, but Yeosang to me is one of the funniest and wholesome members once you really take in his personality and composure. I feel like even if he tries not to due to his wallflower and observant tendencies, he draws you in, which is also Mob's dilemma until he has to come to terms with his bigger than life presence in the grand scheme of things. Although he spends so much time avoiding the spotlight and desire to lay low, he finally comes to terms with how signifiant his role is in the lives of others, and I find that beautiful (even if the series itself is unserious in nature haha).

Jongho

This was the hardest casting, because Jongho is so emphatically anti-fan service. Yet his prickly appeal and fondness for weepy dramas makes me think he could tough it out in a melancholy Japanese BL. Despite a mean and grumpy demeanor, his big round eyes would fill with devastation as the person he loves is taken from him too soon, only to get him back with only enough time to say their goodbyes and learn something about acceptance and memory.

Eternal Yesterday (Japan, 2022)

I will happily hear your substitutions or recommendations.

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raven-at-the-writing-desk · 1 month ago

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ngl I got so caught off-guard by Silver's Relaxation Room outfit-

like they just supersized Aurora's face, slapped it onto the sweater and called it a day 😭😭

It doesn't look bad though, the colours are soft and complement each other mostly well. Though now I do wonder what the backstory of it is; correct me if I'm wrong, but I think this is the first time we see a Disney Princess image explicitly in the game, as opposed to vague references/anecdotes?

is she another revered figure, or a famous film character in the in-game universe? I do hope Silver's vignette will acknowledge his PJ origins 😅

I was expecting a sweater on Silver for his Relax in Room card, but not that particular design... I find it sorta ugly (colors are fine, but that design is no for me), but in that somewhat endearing way?? Like how people find ugly Christmas sweaters fun. It also very much fits Silver, who doesn't have much fashion sense (though the voice lines confirm it's a gift from Lilia, which also makes sense, given his penchant for cute, novel items.

And nope! This actually isn't the first time we've seen a Disney Princess depicted outside of references and anecdotes. There has previously been furniture items that outright show the princesses and/or heroes, such as the limited time A Firelit Sky statue, "Fireworks Admirers" (although there is no story or history attached with the statue).

More explicitly, the Platinum Jacket series of vignettes shows multiple Disney princesses and heroes in addition to villains via paintings. Often times, the NRC boys will comment on the artwork and/or talk about a brief story related to it.

The Three Good Fairies appear in Trey's vignettes:

He notes that it is a depiction of "fairies gifting magic to celebrate the birth of a princess of a certain country." However, we cannot see the princess in question from the shot of this painting.

All of the Diasomnia Platinum Jacket cards do feature Aurora in some way though, and 3 out of the 4 of them very clearly show her face. Lilia sees the same painting as Trey did, lamenting that the fairies blessed the princess with beauty and song instead of the strength to break her own curse.

Sebek witnesses a painting of Aurora in her peasant dress, before she learned of her birthright as a princess. He describes the artwork as "a human chatting with some animals [...] about her dreams" and says that he saw this scene in a book his grandfather gifted him.

Malleus sees a painting of Prince Phillip and Princess Aurora dancing at the ball. He recognizes her as "the princess blessed by diurnal fae" but doesn't state more about her history than that. So it seems like the story of Princess Aurora and the Three Good Fairies are recognized to be from the same tale.

Finally, we have Silver, who sees the same painting as Malleus does. He implies the painting is "well-known" and that it depicts a scene from a storybook that he often read as a child. (So both he and Sebek mention seeing this princess in a book; is it the same book, or different books based on the same material?)

Silver also characterizes Phillip as someone who fought bravely. Because of that, he came to admire the prince and aspired to be like him someday.

At this point in time, all that we know about Aurora's standing in the Twst world (not counting anecdotes; these are strictly tied only with visual depictions of her) is:

She is a princess blessed by diurnal fae at her birth

She danced with a brave prince

She speaks with animals about her dreams

Her story is written in books

Aurora must be an important historical figure in some way, as she is depicted multiple times in the Land of Dawning's National Museum of Art alongside the likes of the Great Seven and their henchmen. It's not too strange that she has storybooks about her; we know thanks to Tapis Rouge that it seems normal for people to make creations based on Twisted Wonderland's historical figures. For example, the Fairest Queen has had an animated film and now a live action made in her name and the Card Soldiers were similarly in a children’s book from the Queendom.

In case you were wondering, Silver's Relax in Room vignettes do not talk about the princess or the character depicted on his sweater. It's just the usual bedtime + morning routines and responding to the school survey that have been depicted in all previous Relax in Rooms.

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the-necromancer-wife · 3 months ago

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"I could explain more about the Laplace Demon concept if you, dear readers, are interested but that would be for another occasion. Another essay hehe."

Pleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleaseplease 🛐

Explaining Laplace's Demon tehory in the context of 14dwy.

Thank you so much for giving me an excuse to talk about this dear anon!

In this post i'll elaborate further about something i said in the end of this super long post. As always TW for 14dwy spoilers!

(Joke's on you, sir, i DID come here for the tales of old)

And this tale in specific is really old. Around two hundred years old to be specific. In 1814 a man known by the name Pierre-Simon de Laplace wrote an essay about a deterministic concept known later as the "Laplace's demon" (although he already seemed to be exploring this concept since 1773)

We may regard the present state of the universe as the effect of its past and the cause of its future. An intellect which at a certain moment would know all forces that set nature in motion, and all positions of all items of which nature is composed, if this intellect were also vast enough to submit these data to analysis, it would embrace in a single formula the movements of the greatest bodies of the universe and those of the tiniest atom; for such an intellect nothing would be uncertain and the future just like the past could be present before its eyes.

(Pierre Simon Laplace, Philosophical Essay on Probabilities.)

But what does this all mean? Well basically this man spoke about a hypothetical "intelligence" (he didn't precisely used the word "demon") that, knowing the precise location of every particle in the universe and where they were headed, they would be able to guess the past and future values for any given time. In other words, we would be referring to an almighty hypothetical "thing" able to see the past and future of every single thing in the universe.

Of course this is all a model, a theory, an exploration on what would happen if something like this existed in the first place. After all, it was all a philosophical essay in the first place, wasn't it?

"Une intelligence ... Rien ne serait incertain pour elle, et l'avenir, comme le passé, serait présent à ses yeux."

Of course, Mr. Laplace wasn't the only one to explore the idea of an almighty intelligence since other philosophers like Condorcet, Holbach and Diderot also wrote about it.

Now there are several theories (some more modern than others) to explain why an intelligence of this nature will never be possible to exist but there is one that might ring a bell for some people "The Chaos Theory"

Or as some might know it: The butterfly effect.

This theory basically poses that minor variations between the starting conditions of two systems can result in major differences. That's why you say that "A butterfly flying in certain direction today can lead to huge catastrophes tomorrow" it's not something (so) literal but it is useful to illustrate how small can be the variation and how huge can be the result. Of course the change doesn't have to be huge. It can be a minor change, but a change nonetheless.

Btw chaos theory is applicable when knowledge of the system is imperfect, whereas Laplace's demon assumes perfect knowledge of the system, therefore the variability leading to chaos in chaos theory and non-variability in the knowledge of the world Laplace's demon holds are noncomparable.

But, What does this all has to do with 14dwy?

Glad you ask. Actually a lot.

Starting off with the idea of how perfect is this game integrating even its genre (Visual Novel) to the theory. I believe there is no bigger example of the butterfly efect than a Visual Novel, where choosing (or not) certain options can lead to certain results (big or small). Very much like the butterfly effect. And funnily enough, it's us, the player, the embodiment of this umpredictability, since we are the ones that make the choices in the game. We are the antagonists of a hypothetical Laplace's Demon. We are it's antonym. We are an angel. The idea of a change that the system cannot predict. Of course this is questionable. Because as much as we have certain "freedom" we still need to abide by the choices that the very game gives to us.

This takes us back to the question of who is the entity that speaks to us in this cryptic messages on day four? Who is this (allegedly) Laplace's Demon? and what are my personal arguments on why i don't think it's [REDACTED].

Let's start by breaking down the messages. I have them all decoded in my previous post along with a really easy (i hope so) explanation on how the cipher works.

"...ATTEMPTING TO REWRITE WHAT HAS ALREADY BEEN ORDAINED SINCE THE BEGINNING"

Here, the entity mentions the certainty of the past, but not the certainty of the future.

"...ATTEMPTING TO DIG UP THE ROOTS OF FATE AS THOUGH IT WERE A WEED AND PLANTING YOUR OWN CORRUPT SEEDLING IN ITS PLACE"

Here, the entity presumably refers to the idea of our (very limited) free will and how we're pushing the limits of the system (in this case by attempting to keep advancing on a route that supposedly leads nowhere else). To make this more clear, this entity speaks to us when we load the save file multiple times trying to keep advancing down that path when the course of action contemplated is that we should just stop and load another save file. We're persistent creatures, after all.

"PERHAPS WE ARE THE SAME, THEN"

Of course fucking ✨not✨

"I TOO FIND ENJOYMENT IN DISRUPTING THE VINES OF KISMET AND WATCHING HIM STRUGGLE"

Now i swear i never heard the word "kismet" before this day. But it seems to be some sort of archaic synonim of the word "fate". Although according to Cambridge Dictionary it is actually "A force that (some people) think controls what happens in the future, and is outside human control"

Also, this entity seems to be having its fun with Ren/REDACTED's struggles. It doesn't really see our unpredictability (yet) as a threat.

"TWAS I WHO GAVE HIM HIS GIFT, AS I DID WITH OTHERS..."

AND THIS

This right here boy oh boy.

I gave him his gift: A rant about human deities through the holy act of programming.

(As pretentious as this title is, please hear me out)

There's a really interesting article named Embracing Λόγος: Programming as Imitation of the Divine that basically says:

The programmer must begin by defining things – material or conceptual. “We are unable to reason or communicate effectively if we do not first make the effort to know what each thing is.” (Rayside, Campbell) By considering the ontological questions of the things in our world, in order to represent them accurately (and therefore ethically) in our programs, the programmer enters into the philosophical praxis. Next, the programmer adds layers of identity and logic on top of their ontological discovery, continuing in the praxis.

But the programmer takes it a step further – the outcome of their investigation is not only their immaterial thought but, in executing the program, the manifestation of their philosophical endeavor into material reality. The program choreographs trillions of elementary charges through a crystalline maze, harnessing the virtually infinite charge of the Earth, incinerating the remains of starlight-fueled ancient beings in order to realize the reasoning of its programmer. Here the affair enters into the realm of Ethics.

“The programmer is attempting to solve a practical problem by instructing a computer to act in a particular fashion. This requires moving from the indicative to the imperative: from can or may to should. For a philosopher in the tradition, this move from the indicative to the imperative is the domain of moral science.” (Rayside, Campbell) Any actions taken by the program are the direct ethical responsibility of the programmer.

Furthermore, the programmer, as the source of reason and will driving a program, manifesting it into existence, becomes in that instant the λόγος σπερματικός (“logos spermatikos”) incarnate. The programmer’s reason, tapped into the divine Reason (λόγος), is generated into existence in the Universe and commands reasonable actions of inanimate matter.

Basically the programmer goes through each and every stage a deity would go through when creating the universe.

AND GUESS WHO IS A PROGRAMMER IN 14DWY???

(Ren/REDACTED in case you don't know hehe)

When the entity says "I gave him his gift" i believe this is exactly what he is referring to. While a Laplace's Demon knows every particle in the physical systems (and assumes it's knowledge of said system is perfect), a programmer works with Operative Systems (Windows, Linux, Ubuntu).

As for us, the angel, the antagonist of the demon of Laplace, we are the chaos theory, the one that conceives the knowledge of the system as imperfect.

Btw the person manipulating some choices in certain moments? Totally Ren/REDACTED. As they have the power of messing with the game and are totally self-aware of this being a visual novel.

But who gave Ren/REDACTED this power? Was Ren/REDACTED so skillful that they were able to defy the laws of worldbuilding? Picture this: the equivalent would be a programmer in the real world so skillful that they become able to defy the reality itself.

I believe the responsible is this "all knowing entity" since it just said it itself "It was I who gave him his gift". After all he is, and i quote, "THE PAST, PRESENT, AND FUTURE, COMBINED INTO ONE" really ominous shit.

There are obvious gaps in this theory but it's the best i can do with the limited knowledge i have. I am not a physicist so i can't really dwell in formulas and numbers as much as i would. Maybe i'll interview a professor in college in the future but for now i hope this is enough.

#14dwy analysis #14dwy #14 days with you #i really hope cutiesai sees this omg #14dwy ren #14dwy redacted

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meidokatsu · 4 months ago

Text

Boys be maid: Voice lines translation

unofficial tl provided by meidokatsu. official website link: https://boysbemaid.jp/

*TL notes under readmore

General disclaimer: There is no text provided, so I’ve done the best I could by translating by ear only. There might be some mistakes, so please take them with a slight grain of salt. Overall, I am confident there aren’t drastic misinterpretations, but without text I cannot be certain. In the case that is true, please contact me.

TL notes are also sorted under where it’s relevant. (Ex. If it’s in a voiceline for A character by character B, it will be listed in A’s character section.)

Third voiceline is mostly the same voiceline each time, but I’ve added a little bit of English flair by using synonyms, which I think scale up and down on the ladder of formality, I thought would be fitting to the character itself. (Have to admit this is also mostly me being selfish and just having some fun.)

Honorific guide and how I translate them: honorifics I think are common knowledge if you’re a weeb™, are kept as is. Honorifics that are a bit more “unique” will be translated. Ex. -san & -senpai will be kept, but something as 「陛下」 (へいか、heika) will be translated to “your majesty”. This is also extremely situational.

Ranto

Aimery’s 「イベントスチル」 (event still) is a keyword used to refer in illustrations in visual novels, aka commonly called a “CG” in English. It’s when there’s a unique illustration provided, instead of talk sprites with dialogue boxes in a visual novel. These are usually impressive illustrations that heighten your experience during reading when important scenes are happening.

Suffix -dono mean lord/master.

Yoka

I assume from what I was able to hear, Aimery uses the suffix 「嬢」 (じょう、jou) for Yoka, which translates to “miss“.

Aimery’s line for Yoka has him stuttering, though he uses what I’d describe as super duper formal business Japanese. He specifically says 「ご機嫌麗しゅう」 (ごきげんうるわしゅう, gokigen urawashu) is a greeting or word of parting mostly used by women when speaking extra formal. English lacks this, in many ways, so I’ve used a rather played up formal sign off usually found in business emails.

Amaki

Rei uses the prefix O- in front of Yoka’s name. This is usually an indication of politeness, but can also be less impolite when added in front of a feminine name. The real nature behind this O- is unknown to me, but it has been translated as “dear” to indicate this "politeness", atleast.

Rei

Rei speaks in Kansai dialect. However I find that there’s a rather refined aura around him that, if I were to incorporate it in his speech as Kansai dialect usually gets translated, it would lose that refinement. Until there is more content, I will keep it the way I did it for now, and try to incorporate the essence of it by being a little more colorful & dramatic instead. (This approach is mostly inspired by how Yakuza 0 had translated Kansai dialect.)

-han is a Kansai version of -san

#boysbemaid #boys be maid #takashina ranto #kisaki yoka #amaki rou #kiku shumei #aimery cenoir #himeutsugi rei #profileTL

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literaryvein-reblogs · 11 months ago

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How to write genius level characters? :(

One of the most reliable measures of intelligence today is the Stanford-Binet Intelligence Scale—currently in its 5th edition, with an upcoming edition in the works.

Using the tool/scale, scores are converted into nominal categories designated by certain cutoff boundaries for quick reference:

Measured IQ Range — Category

145-160: Very gifted or highly advanced

130–144: Gifted or very advanced

120–129: Superior

110–119: High average

90–109: Average

80–89: Low average

70–79: Borderline impaired or delayed

55–69: Mildly impaired or delayed

40–54: Moderately impaired or delayed

To write your "genius" character, you may want them within the Gifted to Very Gifted categories.

Note: With reference to this list, Roid (2003) cautioned that “the important concern is to describe the examinee’s skills and abilities in detail, going beyond the label itself”. The primary value of such labels is as a shorthand reference in some psychological reports.

These are the factors measured by the scale, and you ideally should aim for your "genius" character/s to exhibit high levels of:

Fluid Reasoning: Novel problem solving; understanding of relationships that are not culturally bound

Knowledge: Skills and knowledge acquired by formal and informal education

Quantitative Reasoning: Knowledge of mathematical thinking including number concepts, estimation, problem solving, and measurement

Visual-Spatial Processing: Ability to see patterns and relationships and spatial orientation as well as the gestalt among diverse visual stimuli

Working Memory: Cognitive process of temporarily storing and then transforming or sorting information in memory

Or maybe your character doesn't excel in all of these areas but in a specific one, or just a few of these. Maybe they perform within the average or high average in some, but are highly gifted in other areas.

The following may also guide you in writing your genius character, based on research compiled by Dr. J. Renzulli, which can be found in the Mensa Gifted Youth Handbook:

Characteristics of Giftedness

LEARNING CHARACTERISTICS

Has unusually advanced vocabulary for age or grade level

Has quick mastery and recall of factual information

Wants to know what makes things or people tick

Usually sees more or gets more out of a story, film, etc., than others

Reads a great deal on his or her own; usually prefers adult-level books; does not avoid difficult materials

Reasons things out for him- or herself

MOTIVATIONAL CHARACTERISTICS

Becomes easily absorbed with and truly involved in certain topics or problems

Is easily bored with routine tasks

Needs little external motivation to follow through in work that initially excited him or her

Strives toward perfection; is self-critical; is not easily satisfied with his or her own speed and products

Prefers to work independently; requires little direction from teachers

Is interested in many "adult" problems such as religion, politics, sex and race

Stubborn in his or her beliefs

Concerned with right and wrong, good and bad

CREATIVITY CHARACTERISTICS

Constantly asking questions about anything and everything

Often offers unusual, unique or clever responses

Is uninhibited in expressions of opinion

Is a high-risk taker; is adventurous and speculative

Is often concerned with adapting, improving and modifying institutions, objects and systems

Displays a keen sense of humor

Shows emotional sensitivity

Is sensitive to beauty

Is nonconforming; accepts disorder; is not interested in details; is individualistic; does not fear being different

Is unwilling to accept authoritarian pronouncements without critical examination

LEADERSHIP CHARACTERISTICS

Carries responsibility well

Is self-confident with children his or her own age as well as adults

Can express him- or herself well

Adapts readily to new situations

Is sociable and prefers not to be alone

Generally directs the activity in which he or she is involved

Sources: 1 2 3 4 5 6 7 8 9 ⚜ Writing Notes & References

Hope this helps with your writing. Do tag me, or send me a link. I'd love to read your work!

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breathlesswinds · 1 year ago

Text

(Devlog) What We Learned Making A Trans Dating Game

Hello, Amelia here, the writer for Breathless Winds. It's been 250,000+ words, countless revisions, and three years since this game entered development, and I wanted to talk about what I've learned leading up to release.

The concept for Breathless Winds was actually sort of a joke between friends. I was talking with Doris about how there should be a dating game where you play as a trans woman and your dating options revolve around certain ‘tropes’ we’d both seen in trans fiction-- the totally accepting cishet guy who falls in love with the trans heroine before she even knows she’s a woman, the cool trans woman who the heroine doesn’t know if she wants to date or wants to be, and so on.

Doris wound up suggesting we make this game ourselves. We both like visual novels and want to tell LGBT stories. Still half-jokingly and half-seriously, we started fleshing out what the romance options would be and coming up with a setting-- and soon, we were fully committed to making this game real.

I was a fan of visual novels but had only ever written prose. I knew which visual novels I liked and which scenes stood out, but I didn’t know why they did or how to make my own.

I read some great advice from visual novel developers, but a good amount of my knowledge came from just working on Breathless Winds. As our first project, this game has grown a lot with us and we’ve learned a lot while making it.

Learning How to Write Visual Novels

A bad habit I had to break out of was only using the ‘novel’ part of the game and not the ‘visual’ part. I would sometimes write “He smiled” or lines like that, and Doris informed me that we can convey this much more simply with a sprite change.

It sounds obvious in retrospect, but lines like that are often pretty invisible when you’re reading a non-visual novel. These lines change the sprite of the character inside your head (if that makes sense, haha). I realized that I’m so used to them being ‘invisible’ that I didn’t notice their absence in visual novels I liked, so I would accidentally include them while writing.

I was also writing these routes in a word processor, so I didn’t have the visual portion to reference, myself. I wound up making a lot of ‘tone’ notes like, “Lantana should be smug here” so that the meaning would carry when revising and implementing these into Ren’py.

So, while visual novels share a lot with prose, they’re an entirely different medium. On the subject of representing things visually, I’ve struggled trying to figure out how much can be visually represented and how much should be written.

Every asset in the game has to be drawn by Doris, so if I want the characters to go to a new location for a scene, I have to keep in mind that’s another background that Doris has to draw. If I want a new character to show up, that’s another sprite she has to draw. I don’t want to overload her, but if I’m trying to avoid this entirely, characters sometimes wind up standing in one room talking for ages without anything significant changing on-screen.

I’ve learned that it’s recommended for something to almost always be changing on-screen, though, so sometimes I just have to ask Doris to make a new asset for a certain scene. I still try to stick to locations/characters that already exist more often than not.

Every single thing in a visual novel is deliberate. Another thing I’ve had to learn that I never even considered before is how to write each line so it fits in the text box. It sounds obvious, but when I’m playing a visual novel, I don’t usually think about how each line has to be carefully constructed so it doesn’t need to be split up into two or more text boxes. In my mind, if a visual novel is well-created, there’s not much that breaks a reader’s immersion.

Planning & Outlining

The previous section might sound really weird to some people, so let me elaborate. I’m a lifelong ‘write by the seat of your pants’-er, so the biggest trial-and-error of creating Breathless Winds for me was planning out the game.

Initially, I created outlines for each of the four routes, and we agreed ahead of time on which CGs each route would have. That way, Doris could draw the necessary backgrounds and CGs while I was in the long process of drafting this game. My original outlines weren’t great. I know a lot of people have different experiences with writing, but for me personally, a story is always shaping itself in my mind. When I started making the outlines for Breathless Winds, I knew the concepts we wanted to convey, but I didn’t know what each route (and the game as a whole) was really about yet. This might sound weird and unprofessional, but sometimes, I don’t know what a story is about until I finish the first draft.

So while I was writing, I would look at my outlines and I would think, “this doesn’t actually make sense, he wouldn’t say that” or “this plot point would work better if moved to this other section” or “there’s a plot hole here I didn’t notice”. The story wound up changing a lot in this way as I learned what it’s really ‘about’.

And even after I finished the first draft, I’d get feedback from Doris and/or my editor and they would suggest fixes to problems that even I hadn’t noticed, and then I would revise the route some more, and later on I’d come back and need to redo part of the route to comply with something I wrote in a later route-- I haven’t really felt ‘finished’ with Breathless Winds at any point, and I think I’ll still feel this way after the game is released.

This means that sometimes, a background was created but would go unused because there was no space for the scene that would use it, or we’d need a new CG last-minute, or so on.

When I’m figuring things out as I go while writing a non-VN, the only person that I can adversely affect is my own self… so I’m eternally grateful for all of Doris’s patience with me on this matter. I think Breathless Winds has come out a much better game for all the re-plotting and revision.

I redid the outlines several times as I went. I think I’ve understood how to create outlines that personally work for me-- ‘living’ outlines that hit all the main points, but leave wiggle room for moments when a character does something unexpected, work the best for me.

Scope Creep

So, originally, each route was meant to be 40,000 words. “With four routes, that’s only 160,000 words!” I thought. “And some of my favorite visual novels are about that long, so I can write that much, too!” ← clueless

This is the most infamous mistake that new creators make, and I walked right into it. I should have known better since I’ve bitten off more than I can chew with past non-VN writing projects before, but I was starry-eyed and didn��t realize how much work it is to make a VN. Some of those favorite visual novels I referenced were made by much larger teams, writers whose full-time job was writing (I wrote all of these routes on the side while working at a day job).

If I could have done it again, I would have asked Doris to start out with a really short VN. But, I don’t regret making Breathless Winds at all. It’s brought Doris and I a lot closer, for one. Every time I thought I wanted to give up on this, Doris would motivate me to continue. Without the two of us both and our strong friendship, Breathless Winds wouldn’t exist, and I think that’s beautiful.

No matter what, we’re going to see it through to the end. (I hope people like it, though…)

Anyway, here I am talking about how much 40,000 words is. Each route now is about 60k to 70k words. The problem with having evolving outlines is that they can often evolve into double their original size.

We came up with the idea of the poachers really early in development, and then not addressing the poachers felt like a failing, but by that point it was too late to remove the poachers entirely… and so the game wound up a lot longer dealing with the poachers.

I think that if we had an editor sooner on in the game’s development, then we might have had someone to tell us, “do you really need all of this in the game? Does this plot point really need to be there? Will you be able to write all of this in a reasonable amount of time?”, haha. But Doris and I were really excited about the possibilities of this game when we started creating it, and without anyone to reel us back in, we wound up coming up with more and more things we wanted to put in the game.

Did you know there was going to be an island full of talking rats who say things like “the big cheese” and stuff all the time in Breathless Winds? Yeah.

The Core Design Philosophy of Breathless Winds

So, for anyone who’s read this far but doesn’t know yet-- the premise of Breathless Winds is that you play as a trans woman who doesn’t know she’s trans yet, and she finds love with one of four love interests as she discovers her gender identity.

In real life, it can be a lot messier for a person to date when discovering their gender identity. To put it briefly and mildly, a trans person’s life and sense of personal identity can rapidly change during a gender crisis and the early stages of transition.

However, we wanted to make this game a ‘wish-fulfillment’ type story-- a trans fantasy about acceptance, community, and love. During a gender crisis, it can be easy to feel as if one has lost touch with themselves and become isolated from others. A sincere wish shared by many trans people is to be accepted, loved, and even celebrated as their true gender, not just tolerated.

Since many trans people don’t get love and acceptance in real life, especially with the ongoing transphobic moral panic, we wanted to create a game that would bring this feeling of trans joy and celebration to trans audiences.

We also hope that cis players will still enjoy the story and characters, and maybe come away from the game with a new understanding about being transgender and other aspects of LGBT identity (although we never intended this game to be ‘educational’).

Making Characters that Celebrate Trans Identity

Although we went through several revisions, the core identities of each character stayed the same since the game was first ‘jokingly’ pitched. In another post, I discussed how each character is themed around a change in seasons. (I also wound up theming them around the four humors when I was initially concepting them-- I really wanted to avoid too much ‘overlap’ in the LI’s personalities, haha).

Ultimately, characters are created to serve a role. The LIs in Breathless Winds were designed to be love interests, of course-- characters who would appeal to the hypothetical trans femme audience. As mentioned earlier, we modeled them after other trans fiction tropes because these types of characters have a certain tried-and-true appeal, but this left plenty of flexibility to put our own spin on it.

A trans woman being loved as a woman by a cishet guy can feel like a high form of ‘passing’, ‘fitting in’ to the female gender role, and being validated by his orientation. He only likes women, and he likes you, so you’re undoubtedly a woman. As a cishet guy, he represents a sort of acceptance into a societal norm that trans women can desire to live to. (Lantana, as a cis lesbian, represents the sapphic counterpoint to this-- although there is of course a big gap between the ‘normalcy’ of a cishet man and a cis lesbian woman, and I don’t mean to say those two are equivalent.)

But not all trans women want to live to that (cis) societal norm. Rue and Valerian, as a trans woman and a trans man respectively, are the t4t options.

Rue’s route represents that trans/sapphic ‘envy’ (“do I want her or do I want to be her?”) as well as finding power in community aside from what society considers ‘normal’. We’ve always been pretty clear about what we wanted to do with Rue’s route.

We went back and forth a lot more on Valerian’s route. Initially, we were unsure if he should be trans. He and Rue are the two less-friendly love interests (at least initially), so I was afraid it would come across that t4t is a more hostile option, which is not true at all. But it also felt like a mistake to not have a trans man in the game-- but making Gallardia trans would have required a big overhaul of what we had in mind for him and his route. (Although, childhood friends t4t is a really good idea...)

Beyond that, Valerian takes a villainous role in any route that isn't his own. We were worried that it would be wrong to have a trans antagonist who represents unjust power. However, Breathless Winds is a queer game with other positive trans characters, and we've always approached Valerian as a hot anti-villain man that you can't help but like.

In the end, Valerian’s route is about breaking generational cycles and what it is that makes you a man, and I also managed to sneak in a scene where they dance at a ball in the royal palace, so in the end I think it all worked out great.

Wish Fulfillment and Catharsis

Doris and I both agreed that we wouldn’t depict on-screen transphobia in Breathless Winds. Poppy worries about not being accepted, but fear of acceptance can come with any change in identity. Rue was rejected by her family for being trans, but this doesn’t take place ‘on screen’ in the game. There exist certain metaphorical parallels for transness and transphobia, but every route has a happy ending.

Following up on this-- it can be difficult to write about discovery of gender identity without writing about transphobia, considering how many trans people suffer from internalized transphobia during their period of repression.

Sometimes, repressed/closeted transgender people ‘hyper-perform’ their assigned gender as a form of denial. A trans woman might grow out a beard and join a gym, while a trans man might become very interested in makeup and feminine clothing.

In Breathless Winds, Poppy often struggles with ‘strength’ and what it means to be a man. In several routes, she tries to prove her strength under the assumption that being stronger would make her happy. Afraid the world would reject her if she became who she really is, she preemptively rejects herself.

Not every trans person suffers from prolonged denial, internalized transphobia, or even gender dysphoria. I don’t think it’s impossible to tell a purely-positive story about trans joy.

While Poppy never gets rejected for being trans, faces transphobia, gets called a slur, etc, she faces both internal and external (metaphorical) obstacles to realizing and accepting her identity.

Gallardia represents a societal norm that Poppy can’t live up to herself as a man.

Lantana suffers from certain aspects of her identity as a woman, which makes Poppy feel guilt for wanting to be a girl.

Rue is isolated from town at the start of her route, a ‘punishment’ for breaking this societal norm.

Valerian has to hyper-conform to his masculine gender role at first in toxic ways before finding acceptance from within and from his loved ones.

These struggles are real to a lot of people, but instead of pretending they don’t exist, I hoped to tell a story about catharsis. Poppy is able to live up to her truth as a woman and finds love with Gallardia, Poppy and Lantana redefine what being a woman should and does mean to them, Rue and Poppy find community in others who don’t fit the norm, Poppy and Valerian stop seeking gender validation from a society that was never made to serve them.

Although these powerful forces of oppression exist, loving yourself as a trans person- and loving those around you, protecting the natural world, and standing up for what you believe in- can save the day. That’s the kind of story we wanted to tell.

Wrap-up

There’s a lot more I could write, but this has already gotten really long (sorry!) so I’ll wrap it up here.

Learning how to write a visual novel in terms of technical skill (how to depict events on-screen, how long each line should be) as well as in terms of writing skill (how to outline the game, how to plan visual assets) has been a massive undertaking for me.

Writing Breathless Winds has been a big challenge but also deeply rewarding, and all of your support has made the experience even more wonderful. Thank you for reading and thank you for supporting the game!

#visual novel #otome #dating sim #amare #trans #lgbt #breathless winds

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vidavalor · 3 months ago

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Hi! I love your posts. I would really like your opinion on what the hell is going on in the drake scene in the scriptbook?? I know it's also in the book but I don't get it in the book either? All I know is that Aziraphale calls Crowley "my dear" in it so I wish it was in the show!

Aziraphale is tossing a breadcrust to a drake. The drake pecks at it, then squawks, and dies.

AZIRAPHALE “Really, my dear, was that necessary?”

CROWLEY “Sorry.”

The drake returns to life, quacks and paddles off.

HELLLLLLP!!!1 😁😁

Hi there! 💕Thank you. Oh, yeah, I got you. 😉 Opinions galore on the drake scenes below. *passes the box of chocolates*

A drake, as we know, is a male duck, but the word also can refer to a serpent, a dragon, or a sea monster. So, visually, in front of our word-nerdy Crowley and Aziraphale in this scene? There's this duck-- this water-dwelling bird-- that is very, very Crowley, right?

And this Crowley-esque duck? What's happening to him in the scene? He's getting fed some bread by Aziraphale, yes?

Bread is bread, yes, but, in an amusing bit of Nightingales blasphemy here, bread is also a word that has also been used to mean all food collectively since that was first coined in the "give us this day our daily bread" bit of 'The Lord's Prayer.' And what's very obviously food in Crowley and Aziraphale's Nightingales speak, as many scenes, including Job's cellar and The Ritz, have shown us? Sex. One of the oldest euphemisms in history and Crowley and Aziraphale basically unintentionally started it with the whole Eve and the apple bit. So, anyway...

Bread is food and food is sex. So, bread (and all its built-in rising dough jokes) is a sex partner or a bit of sex. The bordello owner Mrs. Sandwich... Aziraphale "baking" four different kinds of sourdough loaf during the first days of Covid lockdown... "And the brioche..." in 1793... The Russian cultural attache's black bread was particularly sought after by the more discerning duck... and so on.

So, in the drake scene, Aziraphale tosses some literal bread to the Crowley-esque duck. Crowley, flirting, has the-drake-that-is-like-him respond the way Crowley himself feels like doing whenever Aziraphale feeds him any euphemistic bread.

The drake pecks at the bread, as ducks and birds do. A joke on Aziraphale's hilarious choice of the bird-originating peckish in 1793 as euphemistic for horny-- and, also, the fact that a peck is a kiss. Birds and ducks both eat and kiss with pecking movements so the-drake-that-is-Crowley happily consumes some of Aziraphale's bread. Then what?

Crowley then has the drake respond to the bread consumption by squawking-- the duck version of crying out-- and dying. Imitative of orgasm-- literal death as "the little death." This post has more examples of Crowley and Aziraphale using sex-and-death metaphors in other scenes. They are all more verbal innuendo, though, while, in this scene, Crowley's temporarily literally killed the drake in the process of this flirtation.

This is why Mr. Brown of Brown's World of Carpets never stood a chance, you know. Shockingly, it has never once occurred to him to flirt with Aziraphale by finding a suitably wordplay-funny visual pun of a duck and then temporarily murdering it. Lacks a certain panache, Mr. Vacuum does. 😂 Unlike Crowley, who is just like...

See that duck over there that's just like me? Its heart just gave out, as mine still does after all these millenniums, at but the smallest morsels of your bread, my love.

Aziraphale's reply is a dry: "Really, my dear, was that necessary?"

Must you kill the poor waterfowl with your punny professions of love, Crowley?! Not that I don't completely love this but please undead the duck.

In the script, Crowley was to respond just with "Sorry." and bring the drake back to happy duck life. This scene, as you mentioned, is taken from a similar one in the book, though, and there's a little more there we should look at, too. In the novel, it goes like this:

Aziraphale tossed a crust to a scruffy-looking drake, which caught it and sank immediately.

The angel turned to Crowley.

"Really, my dear," he murmured.

"Sorry," said Crowley. "I was forgetting myself."

The duck bobbed angrily to the surface.

If you recall, when Crowley is described earlier in the novel, the paragraph includes this line:

And, whenever he forgot himself, he had a tendency to hiss.

Forgetting oneself can mean to act out in strong emotion-- and we have seen Crowley hiss a little when upset or overwhelmed in the tv series. Its chief meaning, though, is just to lose composure and self-control... which also can apply to a certain, other kind of situation where one might do that. Adding to that more innuendo-laden meaning, it also has a connotation of becoming deeply engrossed in something.

So, the scene with the drake in the book is then calling back to the "and, whenever he forgot himself, he had a tendency to hiss" line describing Crowley earlier in the novel. It underlines the innuendo by having Crowley say that he was "forgetting himself"-- on the surface, sounding like was lost in thought, but really referring to the joke that he, as the drake, was "forgetting himself"-- having an orgasm-- when the drake cried out and dropped dead from the ecstasy of consuming Aziraphale's bread. It makes one level of "when he forgot himself" being about when he comes, and then says that Crowley has "a tendency to hiss" when he does.

That "I was forgetting myself" line in the drake scene was likely dropped between the book and the script book because it existed in the book to call back to the earlier, written description of Crowley. That description was (as best as I can remember right now) the only other time it appeared in the novel. Skipping it in the tv series wouldn't have really impacted anything while having it in there might have been potentially confusing to those who hadn't read the book.

If you ask me why I think the drake scene never made it past the earlier draft of the script, though? I think it's likely because, if this scene had existed in the 1.01 St. James' Park scene? Or anywhere in S1, really? One of the biggest questions from S1 would have been why did Crowley kill the duck and bring it back to life? The audience would have figured it all out in big numbers from the start because more people would have been talking about it and, once you see it? It becomes pretty impossible not to see that they're lovers.

It's the fact that it's Book Omens and one of the more overlooked cut bits of the script that have caused it to fly under the radar. I think that cutting it from the tv series made sure that there was still plenty of bread-and-ducks-themed Nightingales in the scene without Crowley's romantic (?) temporary duck slaughter making it too clear to the tv audience too soon what those things are all about.

#good omens #good omens meta #ineffable husbands #aziraphale #crowley #aziracrow #ineffable husbands speak #book omens

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mip-dev-center · 3 months ago

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MIP Interactive Scenario 1: LOF's Hangout Event (Part 1)

See This Post for explanation.

You are a recently activated MIP Unit, and you are still getting used to the MIP Development Center, so you're taking a walk around the Facility.

As you travel the grounds of the MIP Development Center, you notice a strange catgirl peeking behind a wall in one of the hallways. What will you do?

> You ask her why she's snooping around.

???: "!!"

???: "Um, I'm not snooping... I came here to check on a couple friends of mine. I'm just making sure there aren't any threats first. Y'know, I've never seen you around here, so you're the suspicious one, really."

He deflects your arguments in a very un-convincing manner. He's at least talking to you now, though. What shall you do next, YN?

> You do a silly dance to prove you're not threatening.

Instead of introducing yourself like a normal, well-adjusted individual, you elect to start dancing in front of them. Your dance moves are absolutely horrid. The foul beast looks upon you with an expression of utter disgust, which is fitting, given the appalling display you've just forced them to witness.

???: "Uh..."

???: "Hey buddy, you didn't answer my question..."

...That did not go as well as you had hoped. Still, there is plenty of time to turn things around! You...

> Collapse from embarrassment.

You're so humiliated by your own incompetence that you fall to the ground, crying and shaking pathetically. The wretched beast takes pity on you, assaulting your neural terminus with an uninvited barrage of trite nonsense.

???: "Oh, shit. Are you, like, okay? Sorry, I didn't mean to, like, insult you..."

???: "See, I'm like, autistic and shit, so, like, sometimes I say things I don't really mean... Like, ‘You're ugly’ or ‘I hope you never escape the Cycle’ or ‘The Director should be assassinated’ and that kinda stuff. Which is all a joke, by the way!"

???: "...Legally speaking."

You're fairly certain that Autism Spectrum Disorder doesn't cause insurrectionist tendencies, but you're sure this kind stranger has no reason to lie to you.

ET: "Anyways! My name's Engulfing Twilight! Now you have to tell me your name!

Time to re-do that introduction. What’s your name?

> Youthful Nightfall

You resist the urge to tell """Engulfing Twilight""" that you are named after an (admittedly) prolific RPGmaker game about wandering one's own dreams. Instead, you Introduce yourself as “Youthful Nightfall”, or YN.

ET: "Oh, it's nice to meet you, YN! Haha, your name reminds me of Yume Nikki! Have you ever heard of that game? It's pretty kino!"

ET: "Though, like, if we're talking kamige... It'd have to be 2kki. You wanna hop on 2kki right now?? We can go on YNOproject. It’s super easy to pick up."

After improper usage of the term “kino”, "Engulfing Twilight" incorrectly asserts that Yume 2kki is “kamige”. Ignoring this term’s historical usage in reference to Visual Novels specifically, Yume 2kki isn't even a particularly exceptional experience. If we want to talk actual “peak”, we would naturally discuss Hollow Knight. It has stunning art direction, a breathtaking score, immaculate, tightly woven gameplay with just the right amount of experimentation, an expansive and enthralling world, and a very serviceable and compelling narrative. Truly, the art form of video games would be nowhere without the introduction of Hollow Knight. I wouldn't go as far as to call Yume 2kki “kusoge” (like Hatoful Boyfriend), but it pales in comparison to the glorious Hollow Knight. Anyways, he invites you to play his favorite walking sim whilst visibly trespassing on private property. This is because he is stupid.

ET: "Oh!!! Orrrr... You could help me out with a little "prank" I'm planning! What'll it be, YN?"

You weigh the options in your mind. You can either play kamige (Yume 2kki), which IS in fact kamige, despite the other Narrator's assertions. OR you could help LOF with their little prank. Or you could suggest something else, I guess...

> PRANK TIME

(author's note this option had 100% of the vote somehow despite “suggest to visit thorns instead” being an option. this is really shocking and definitely because I railroaded everyone into picking it ah wait)

Regrettably, you agree to "Twilight's" plan without even asking what it is first. One may perhaps wish to exercise a bit more caution in the future.

-> [Next Part]

#the vault #may 2024 #luna's art #mipdoodles #legacy of famine #stupid images #mip interactive stories #mip units

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mc-cookies · 8 months ago

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Objectionable

(An Ace Attorney-inspired custom Trait for Eureka: Investigative Urban Fantasy, an excellent indie tabletop RPG by the good folks over at @anim-ttrpgs)

Once per Scene, when this Investigator proves that another character is lying or hiding relevant information, they gain 1 Investigation Point and a +1 Contextual Bonus on subsequent Interpersonal rolls to uncover further details about that untruth. During these lines of questioning, if another character finds a flaw in their logic, the Investigator takes a Composure roll with a +1 modifier, and their Interpersonal Bonus ends. [1]

[1] Investigators with this Trait emulate the tactics of scrappy defense attorneys from a certain series of courtroom drama visual novels. By finding contradictory details in the stories of others, they can pull apart an entire testimony at the seams, but if they take too big of a logical leap and can’t back it up, they quickly lose confidence, momentum, and the trust of onlookers.

Each Investigator (player character) has 3-6 Traits which mechanically represent various aspects of their character.

More information about Eureka and its mechanics under the cut!

Eureka is among my favorite RPGs I've ever read, and certainly the best investigation-focused system I've seen. Its systems are deeply elegant, creating a game where players can piece together mysteries alongside their Investigators in a grounded world that still leaves space for supernatural intrigue. Combat is swift and strategic, but deadly if you go in without a plan. Investigations can be complex, but even the stickiest of situations don't require railroading to keep players on track. Mundane and supernatural characters alike have access to unique abilities, quirks, and skills that make each character feel distinct in mechanics as much as in flavor. The game interacts with the real world by way of fiction in a way that's refreshing and endlessly fascinating.

I absolutely recommend you give Eureka a shot, especially if you've been disappointed trying to run mystery stories in systems like D&D5e.

This trait, as is probably clear from the art and description, is heavily inspired by the gameplay of the Ace Attorney franchise, where you're expected to pull at the threads of a story until the truth falls into your lap, but where every further question is a risk. This is part of a broader trend in the rulebook where traits reference investigators from other mystery media, including Columbo, Sherlock Holmes, Jacques Clouseau, Kolchak, and the Scooby Gang (two links), among others.

The text of Objectionable references "Investigation Points", which are an abstract representation of how well an Investigator understands the mystery they're looking into. They can be traded in for "Eureka!" moments, which allow Investigators to retroactively learn information from a previously failed roll or increase their chances on a future roll. Getting a bonus point in this case encourages players to use this Trait whenever it's applicable, and represents the growing confidence of the Investigator as they get to the bottom of the other person's story.

It also refers to Composure, which is kind of like an emotional HP system – having low Composure reduces the possible skill bonuses an Investigator can receive on a roll, because if they're scared, tired, hungry, frustrated, or otherwise thrown off their game, they're less likely to succeed at what they try to do. In this case, the potential loss of composure references Ace Attorney characters getting flustered and embarrassed when the player chooses the wrong line of inquiry.

I'm not affiliated with ANIM (other than being acquainted with their team, since they're quite active within their online communities), but I really do suggest supporting them on Patreon and/or itch.io and/or Ko-Fi. On top of making Eureka, they also run a TTRPG Book Club server on Discord, which is excellent for finding RPGs to read and play and people to read and play them with, and they already have other projects planned after Eureka's full release. There's also a free beta version of Eureka available on their itch.io page, on top of the more frequent updates available on Patreon. Go check out cool artists!

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medakakurokami · 2 years ago

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I finished over 100 visual novels, here’s a long post with some recommendations

Last month I hit 100 Finished VN’s over on the VNDB and I thought I’d shoot out some recommendations while the Steam Summer Sale is going on (even though some of these aren’t going to be on Steam)

I already have finished up some stragglers and caught some shorter titles so it’s up to 104 Finished, but all the better. I have been reading some VN’s since 2015, but it really became a hobby and a genre I was invested in during Covid lockdown in 2020. I had trouble getting into some of the popular titles, but a couple of games that were lesser known at that time really blew me away that year and I started digging more into the medium. I still have a lot to try out and other classics I’m still interested in trying, but here’s a top 10 I’m confident in recommending to most people, at least the kinda people that would follow this blog. A few of these recommendations are actually multi-part series, but hopefully accessible all around.

Planetarian ($10 on Steam and Switch, ~$5 on sale)

This is a very late entry onto this list but I think it’s an easy recommendation. This is a very short 2-4 hour visual novel that got a well received 2 hour movie adaptation in 2016, but it was strong enough that even while knowing the plot everything still hit hard. It is a story set 30 years after an apocalyptic event destroys most of the world, as a human junk-trader comes across a planetarium with a somehow-still-functional robot named Hoshino still performing her daily duties after 30 years without customers or coworkers. It can come across as a bit saccharine, but it is a quick, well made, and effective tearjerker.

Narcissu 1st & 2nd (Free on Steam)

Narcissu’s first two parts are pretty compelling stories to do with suicidal ideation within the scope of the terminally ill. Which is to say they’re also real tear jerkers, and pretty open about some harsh self-reflective emotions. They both have stellar endings, and can be quite immersive despite the very limited artwork (if the screencap looks weird, the game’s art exists within a narrow strip on the screen, with a sentence or two reading out the story underneath it). Maybe the least accessible on this list, but a $0 price tag makes it easier in some sense to get into.

Umineko no Naku Koro ni / When The Seagulls Cry (~$50 on Steam, $30 on sale)

Umineko you’ve probably already heard of, and here’s me recommending it. Umineko comes in two parts, on Steam referred to as the Questions Arc and the Answers Arc. Despite the split, the overall story follows the events of a certain day on Rokkenjima Island in 1986 as a family meets to discuss their inheritance and their family’s mysteries. Unbeknownst to them they are soon haunted, over and over again, by the revenant of the Golden Witch said to live in the woods of their family’s island.

I’m in the minority of preferring the Questions Arc, where well written and deeply human characters find themselves in deeply inhumane and nonsensical scenarios. The Answers Arc back seats some of that to start delving into an esoteric explosion of clues and backstories, and was still very entertaining even if I was more invested in the episodic stories than the overarching mystery. This may also be seen as inaccessible, $30-50 for a slightly older title and over 140 hours long on average playthroughs, but it is deeply absorbing.

Witch on the Holy Night a.k.a. Mahoyo ($40 on PS4 and Switch)

Mahoyo is me and Nasu’s marriage counselor, it really made me see the good in him. It follows a young witch co-habitating with her magic colleague and the puppy-like boy that unwittingly steps into their world at risk to his own life, just as unexplained apparent murders are witnessed in their town.

This could possibly be a higher level recommendation, though it was apparently intended to have sequels and you can somewhat feel that in the isolated feeling of its main conflict. Despite this, the game is definitely worth experiencing for its classy charm and extremely well made action sequences that at times make you forget you’re not watching a full anime film. It’s also a showcase of Nasu’s strengths in writing character interactions and comedy, and he finally lets Show take over and stops Telling you piles of mage society worldbuilding quite so often. It is also has some of the highest quality production value I’ve ever seen, second maybe to...

Marco and the Galaxy Dragon ($20 on Steam/Switch, less than $10 on sale)

Marco and the Galaxy Dragon is an explosive opera of art, energy, color, and of course music. It follows the orphaned Marco and her dragon compatriot Arco as they hunt for treasure across the cosmos, finding their way to Earth on the hunt for Marco’s mother.

If Umineko’s 140 hours seems steep, Marco has you covered with a quick 6 hour rundown of a rebellious orphan fighting back against her space alien menace to find her own sense of place and identity in the universe, along with ALL the friends she made along the way. If Mahoyo feels like an anime film sometimes, Marco actually just has fully animated FMV cutscenes that are fun as hell and have their own unique artstyle to the VN itself. Thousands of pieces of artwork and a 52-track OST fill the game’s short runtime with no cut corners and and overflow of passion from the devs. Honestly even if you don’t want to read it go buy it, it’s cheap and they earned it.

White Album 2 (You’ll have to be creative to find this one)

This is the only recommendation that’s currently only available in an adults only 18+ Rating for the English translation. That being said, it’s one of the few erotic VN’s that felt justified in its pornographic scenes. The story is split into two releases: Opening Chapter and Closing Chapter.

Opening is a short and powerfully delivered love triangle narrative following Haruki, Setsuna, and Touma as their hastily formed 3-man light music band falls into itself with feelings. It’s charming but gut wrenching and sweeps you into its drama very effectively before kicking you on your ass in the end.

Closing Chapter is a long and drawn out disassembling of their lives as they fail to heal from the wounds of the relationships seen in Opening. It, to great effect, takes the readers own experience with how fun and passionate the Opening Chapter was, and shows how trying to cling to halcyon days can make us so dispassionate about our present lives. Painful stuff! Good music, too.

The Princess, The Stray Cat, and Matters of the Heart 1 & 2

a.k.a. Noratoto ($40 on Steam for both, ~$15 for both on sale)

This is a very personal recommendation, and maybe one more easy to make on this blog where many of my followers might be receptive to sincere but slapstick ecchi comedy as art. Every route is highly different however and to me, some are pretty average for galge, while others stand out as amazing. The comedy writing as well feels like it was written by someone with actual comic writing experience, and not just regurgitating the usual ecchi manga jokes.

The general premise of Noratoto is the protagonist Nora, being transformed into a cat by Patricia the princess of the Netherworld, and he must reverse this curse via a kiss before it becomes permanent. A benign fairy tale premise, but one that somehow gives way to underlying stories about existence and finding purpose in families and where that leaves those without families or with abusive or divided families (it is from the same developers as Marco and the Galaxy Dragon, and the themes of finding identity without family match up very closely). Uniquely it is a visual novel written somewhat in 3rd person, narrated by a motherly voice as if the VN was being read to you as a bedtime story.

Like I said, it is dependent on route and some come across as your usual ecchi gal-game schtick, but some stick out, and if every route was as high quality as Nobuchina’s in the 2nd game, it would probably be my favorite visual novel.

The Original Ace Attorney Trilogy ($30 on most platforms, $10 on sale)

You’ve almost certainly heard of Ace Attorney already and have most likely played it. This is me telling any Ace Attorney fans reading that the original trilogy still reigns supreme (regardless of Turnabout Big Top). This is also me telling anyone who has held out on trying Ace Attorney to try it, and to start with the original trilogy.

Obviously this trilogy follows the Meme Man Himself, Phoenix Wright, as he defends the innocent and brings the guilty to justice acting as both lawyer and his own main investigator. While each case presents a unique mystery, the original trilogy has an underlying arc that reaches from beginning to end with a massive conspiracy that Phoenix has to breach to bring justice to the perpetrators and resolve the memory and regrets of his beloved mentor.

These games have some speedbumps as you may be banging your head against the wall trying to find the right evidence, but the experience that breaks through does so with gusto, succeeding on what it sets out to be: games that make you feel like you’ve brought justice to the world.

Utawarerumono Trilogy ($40/60 each on Steam, trilogy bundle $62 on sale)

Utawarerumono was my first proper visual novel, and it set the standards pretty high. I’ve posted about it several times in the last few years, and it remains one of my favorites. It is a labor of love on the part of the developers (the same developers as White Album 2), who developed the latter two games over the course of several years and have made this the spearhead of their company for the time being. Which makes sense, since it is about war.

The first game follows a masked man who is given the name Hakuoro waking up in a rural village with amnesia, confused about the strange population of beast-men living there. Despite not understanding his situation, his ingenuity brings the village prosperity. When the local lords try to put the village under their thumb, Hakuoro and the villagers are able to turn the tides against them. Their village grows into a kingdom as Hakuoro seeks the mysteries of himself and the world around him.

The latter two games pick up some twenty years after the conclusion of the first, and follow a man who is given the name Haku, waking up in the woods with amnesia confused about the... you get it. He is met by Kuon, a young girl on her way traveling to the capital of their nation of Yamato. Haku graciously accepts her help getting out of the cold woods, and decides to join her to the capital. As events play out, Haku finds himself under the direct command of the nation’s leader the Mikado, and carries out missions on his behalf as the nation continues to drag itself into war and conflict and Haku also seeks the truth of his identity.

These games are expansive in scope while still putting a large focus on the day-to-day lives of its characters. Around 100 hours across all three games it is impressive how much story it manages to fit in, but the pacing does bounce around between sweeping conflict and sleepy conversations. It is also in part, a strategy RPG game with the battles in the war being controlled by the player. These are decently made, especially well in the third game, but don’t ask too much of the player and the story remains the main focus and biggest portion of the runtime.

The House In Fata Morgana a.k.a. Fatamoru

($40 complete version on PS4/Switch, ~$40 main game + expansion on Steam)

I’ve gushed about this enough on this tumblr, I’ll keep it brief.

You are a formless soul who is led by the hand of a mysterious maid through the doors of a mansion on an unknown plane of existence. Through each door lies a story of the house in a different era, all following people bound together in ways that leave them cruelly and violently undone by the end of their stories. The connection between these stories, the mystery of the house and the supposed witch that resides within, and the mystery of You the wandering soul all slowly unravel in a bloody show of catharsis and soul. The game is dripping with traumatic poetic text, grating beautiful music, and all of its atmosphere geared toward being oppressive yet enticing. One of the best things I’ve read.

Honorable mentions:

Va-11 Hall-A and Endless Mondays get shout outs as some of the best Original English Language VN’s I’ve read, with cool artstyles and a mature cast they manage to be fun and relatable. Va-11 Hall-A delivers a great arc for its protagonist and Endless Mondays has great dialogue on the threat of automation of creative industries.

Grisaia Trilogy and Hatsumira are both absolutely raucous trilogies that are a lot of fun. Not wholly recommendable to all, Grisaia has some strong moments and a hilarious unique cast but is a mess overall (but we love Michiru). Hatsumira is a bit more consistent, a more stable and fantasy-oriented Grisaia.

A.I. The Somnium Files duology are detective games with highly divisive endings, but great comedy and characters that make them very easy to get through and enjoy the whole way to the end. It’s just a toss-up whether you’ll like that ending.

Sakura Wars games are finally being translated, and they are a great showing for anyone who wants to try some classic dating sim stuff but with some pizazz thrown in with the setting and mecha combat.

The Tears to Tiara duology by the same developers of Utawarerumono and White Album is also one to keep an eye out for. The first game's definitive version isn't available in English and the second game is stuck on the PS3 and no longer available digitally, but if they ever come out on Steam they are worth your time.

Nanairo Reincarnation and Kinkoi: Golden Loveriche are also two solid ecchi comedy galge. Both have surprisingly deep and genuinely heartbreaking underlying mysteries and conclusions.

I still have a lot I wanna read, Planetarian is the only Key novel I’ve read. On the docket are Labyrinth of Galleria, Little Busters, the 9 -nine- series, and Kara no Shoujo and White Album 1 releasing on Steam this year. Some classics I didn’t mention are Fate/Stay Night, Muv Luv, Steins Gate. Muv Luv I read Extra and enjoyed it, but never pulled the trigger on reading the rest, I may at some point on a whim. Steins;Gate I played through half of on PS3 and now my PS3 is in the closet, the VN is really good and has a unique atmosphere to the anime, buuuuuuut knowing the plot has made it hard to want to restart on PC or another console. Steins;Gate is good, if anyone is reading this far and hasn’t seen the anime or read the VN, do it.

#long post #i'll only tag the main ones #planetarian #narcissu #umineko #witch on the holy night #marco and the galaxy dragon #white album 2 #the princess the stray cat and matters of the heart #noratoto #ace attorney #utawarerumono #the house in fata morgana

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